100 • Introduction to Art Therapy
psychiatrist David Rosen, like Lewis, embraced a multimodality method in his treatment of
depression. It is no accident that the word transformation is in t he tit les of bot h of t heir books
(Rosen, 2002). Jungian approaches often include a strong mystical and spiritual component.
Several art therapists have used Jung’s thinking as one component of their conceptual
foundation. When Keyes’s 1974 book was reprinted (1992), a supplement entitled “On Active
Imagination” was added. Indeed, the best collection of Jung’s own writing on that topic was
compiled by a dance therapist (Chodorow, 1977), and the explanation by movement thera-
pist Carolyn Grant Fay (1994) is also excellent (I).
As for art therapists, Lusebrink (1990) incorporated the idea of archetypes a nd t he met hod
of active imagination into her work. Kellogg (1980, 2002) spent many years exploring the use
of the mandala for both diagnosis and therapy, a technique also embraced by others (Fincher,
1991). And Corbit and Fryrear’s 1992 book on Photo-Art Therapy was subtitled A Jungian
Perspective. And, as Jung’s ideas have been “re-visioned” by contemporary analytical psy-
chologist James Hillman (1977), they have become even more attractive to art therapists.
Humanistic Approaches to Art Therapy
Another major group of therapies developed in reaction to the psychoanalytic focus on
the past, on the unconscious, and on conflict. These are the humanistic approaches, which
emphasize the acceptance and development of individuals in the present (DVD 5.2). Such
approaches were very popular in the 1960s during the flowering of the human potential
movement. Humanistic psycholog y offered a wellness model of change, as opposed to a med-
ical model of illness. Josef Garai, who wrote that chapter in Approaches (Rubin, 2001), also
included “Holistic” in the title (A).
Holistic ideas about healing are an outgrowth of humanistic ones, as are those in what
is known as transpersonal psychology and psychotherapy. Abraham Maslow,^2 an early
humanistic psychologist, emphasized “self actualization,” or the fulfillment of the individ-
ual’s innate potential for growth. He also described “peak experiences,” similar to Ulman’s
characterization of art-making as “a momentary sample of living at its best” (Ulman &
Dachinger, 1975).
Person-Centered Approach
This approach, developed by Carl Rogers, was originally called the client-centered approach.
It is based on the therapist’s unconditional positive regard for the patient, and the power-
ful effect of empathy (feeling with) as a way of fully responding to the person in pain. His
daughter, Natalie (Rogers, 1993) was taught by Maslow. Initially trained as a play therapist
and a dancer, she used art along with movement, music, and drama in what she called
“Person-Centered Expressive Therapy” (B). A recent methodological contribution to this
orientation is Laury Rappaport’s adaptation of the work of Carl Rogers’s colleague Eugene
Gendlin in Focusing-Oriented Art Therapy (C) (Rappaport, 2009).
In Great Britain, Silverstone (1997) developed a training course called Art Therapy: The
Person-Centred Way. A recent publication from the United Kingdom contains papers on the
arts therapies in “person-centered dementia care” (Innes & Hatfield, 2001).
Adlerian
Alfred Adler, a former colleague of Freud’s who created Individual Psychology, inspired sev-
eral American art therapists. One was Rose Garlock, who led groups at an Adlerian social
club in New York for many years and contributed a chapter to the first edition of Approaches